Gilli Bush-Bailey is Professor Emerita of the Royal Central School of Speech and Drama, University of London, United Kingdom.Kate Flaherty is a Senior Lecturer in English and Drama at the Australian National University.

''This highly readable and informative collection of essays brings together an outstanding international group of (largely) female scholars in an exploration of global theatrical touring 1850-1960. There is a strong Australasian focus to the volume, although examples and outcomes of transatlantic touring are also considered. An emphasis on female performers and managers enables contributors to provide fresh and more nuanced histories of the types of cultural exchange made possible by touring, challenging the supremacy of earlier male-dominated narratives. This is a welcome addition to the burgeoning literature on the history of theatrical touring, exploring hitherto uncharted territory and offering new insights into the significance of the journeys, experiences and performances recounted by its authors.'' Jim Davis, Professor of Theatre Studies, University of Warwick ''Celebrity does you no good when you're choked by a dusty road or thrown about by a tempestuous sea: neither natural nor economic disasters spare the famous. As this fresh collection of essays demonstrates, the economic perspective of theatrical arts as global commodities trafficked between continents intrinsically depends upon talented and persevering individuals to take drama, comedy, opera. circus, dance, and storytelling to metropoles as well as hinterlands. Emphasizing the travel vectors in British (and formerly British) settler-colonies for women (Indigenous, white, and Black diasporic), children, and the impresarios who promoted them, this collection brings the lived reality of travel and survival vividly to the fore.'' Tracy C. Davis, Professor of Theatre, English, and Performance Studies, Northwestern University

• List of IllustrationsContributors AcknowledgmentIntroduction: Kate Flaherty and Gilli Bush-BaileyVanishing cts and Making Tracks1: Diana James and Inawinytji Williamson Kungkarangkalpa: Travelling Women of the Seven Sisters Songline Part 1: Ephemerality and creative methodology2: Joanne Tompkins and Liyang XiaMid-Nineteenth-Century Cantonese Opera Performances in the Victorian Goldfields3: Jacky Bratton and Gilli Bush-Bailey Bodies of Evidence: The unremarkable history of Emma Stanley (1816-1881)4: Anna-Sophie Jürgens Lady Clowns: Clown-Ballerinas, Dancing "Clownesses" and Female Clowns on the Popular Stage around 19005: Jane Woollard (University of Tasmania)Tracks, Knots, Stage Tact and Boots: A ReflectionPart II: Peril, illness and ageing6: Marlis Schweitzer "It Was a Most Beautiful Moonlit Night...": Mrs. John Drew’s Shipwreck Narratives7: Peta Tait Risk and Colonial Touring: Female Circus Performers in Aerial and Lion Acts8: Janice Norwood Reading Race, Repertoire and Transcontinental Reception through Madame Celeste’s Colonial Encounter9: Kerry Murphy "Covent Garden on Wheels" Thomas Quinlan’s Operatic tours of 1912–1914 and beyond10: Laura Ginters "Let me come to Athens [/Lamplough], shelter me, accept me in your home": Medea Transported to the Goldfields and Beyond in Nineteenth-Century Australia.Part III: Reversing flows and Cross currents11: Kate Flaherty Fanny Kemble, Slavery, and Transatlantic Commodity Trade12: Katherine K. PrestonWomen Take Control: Managers of English-Language Opera Companies in Late 19th-Century America13: Sarah Balkin Transporting Humour: Artemus Ward and American Comedy in Britain14: Gillian ArrighiAustralian Child Actors on Early Twentieth-century Touring Circuits15: Mark Houlahan Crossing the Ditch: Trans-Tasman Stages 1841-189616: Veronica Kelly (University of Queensland) Between the "Theatre Game" and Anthropology: International and Indigenous Black Women Entertainers Perform Modernity in Australia 1950s-1960s

Gilli Bush-Bailey is Professor Emerita of the Royal Central School of Speech and Drama, University of London, United Kingdom.Kate Flaherty is a Senior Lecturer in English and Drama at the Australian National University.

''This highly readable and informative collection of essays brings together an outstanding international group of (largely) female scholars in an exploration of global theatrical touring 1850-1960. There is a strong Australasian focus to the volume, although examples and outcomes of transatlantic touring are also considered. An emphasis on female performers and managers enables contributors to provide fresh and more nuanced histories of the types of cultural exchange made possible by touring, challenging the supremacy of earlier male-dominated narratives. This is a welcome addition to the burgeoning literature on the history of theatrical touring, exploring hitherto uncharted territory and offering new insights into the significance of the journeys, experiences and performances recounted by its authors.'' Jim Davis, Professor of Theatre Studies, University of Warwick ''Celebrity does you no good when you're choked by a dusty road or thrown about by a tempestuous sea: neither natural nor economic disasters spare the famous. As this fresh collection of essays demonstrates, the economic perspective of theatrical arts as global commodities trafficked between continents intrinsically depends upon talented and persevering individuals to take drama, comedy, opera. circus, dance, and storytelling to metropoles as well as hinterlands. Emphasizing the travel vectors in British (and formerly British) settler-colonies for women (Indigenous, white, and Black diasporic), children, and the impresarios who promoted them, this collection brings the lived reality of travel and survival vividly to the fore.'' Tracy C. Davis, Professor of Theatre, English, and Performance Studies, Northwestern University

• List of IllustrationsContributors AcknowledgmentIntroduction: Kate Flaherty and Gilli Bush-BaileyVanishing cts and Making Tracks1: Diana James and Inawinytji Williamson Kungkarangkalpa: Travelling Women of the Seven Sisters Songline Part 1: Ephemerality and creative methodology2: Joanne Tompkins and Liyang XiaMid-Nineteenth-Century Cantonese Opera Performances in the Victorian Goldfields3: Jacky Bratton and Gilli Bush-Bailey Bodies of Evidence: The unremarkable history of Emma Stanley (1816-1881)4: Anna-Sophie Jürgens Lady Clowns: Clown-Ballerinas, Dancing "Clownesses" and Female Clowns on the Popular Stage around 19005: Jane Woollard (University of Tasmania)Tracks, Knots, Stage Tact and Boots: A ReflectionPart II: Peril, illness and ageing6: Marlis Schweitzer "It Was a Most Beautiful Moonlit Night...": Mrs. John Drew’s Shipwreck Narratives7: Peta Tait Risk and Colonial Touring: Female Circus Performers in Aerial and Lion Acts8: Janice Norwood Reading Race, Repertoire and Transcontinental Reception through Madame Celeste’s Colonial Encounter9: Kerry Murphy "Covent Garden on Wheels" Thomas Quinlan’s Operatic tours of 1912–1914 and beyond10: Laura Ginters "Let me come to Athens [/Lamplough], shelter me, accept me in your home": Medea Transported to the Goldfields and Beyond in Nineteenth-Century Australia.Part III: Reversing flows and Cross currents11: Kate Flaherty Fanny Kemble, Slavery, and Transatlantic Commodity Trade12: Katherine K. PrestonWomen Take Control: Managers of English-Language Opera Companies in Late 19th-Century America13: Sarah Balkin Transporting Humour: Artemus Ward and American Comedy in Britain14: Gillian ArrighiAustralian Child Actors on Early Twentieth-century Touring Circuits15: Mark Houlahan Crossing the Ditch: Trans-Tasman Stages 1841-189616: Veronica Kelly (University of Queensland) Between the "Theatre Game" and Anthropology: International and Indigenous Black Women Entertainers Perform Modernity in Australia 1950s-1960s

Gilli Bush-Bailey is Professor Emerita of the Royal Central School of Speech and Drama, University of London, United Kingdom.Kate Flaherty is a Senior Lecturer in English and Drama at the Australian National University.

''This highly readable and informative collection of essays brings together an outstanding international group of (largely) female scholars in an exploration of global theatrical touring 1850-1960. There is a strong Australasian focus to the volume, although examples and outcomes of transatlantic touring are also considered. An emphasis on female performers and managers enables contributors to provide fresh and more nuanced histories of the types of cultural exchange made possible by touring, challenging the supremacy of earlier male-dominated narratives. This is a welcome addition to the burgeoning literature on the history of theatrical touring, exploring hitherto uncharted territory and offering new insights into the significance of the journeys, experiences and performances recounted by its authors.'' Jim Davis, Professor of Theatre Studies, University of Warwick ''Celebrity does you no good when you're choked by a dusty road or thrown about by a tempestuous sea: neither natural nor economic disasters spare the famous. As this fresh collection of essays demonstrates, the economic perspective of theatrical arts as global commodities trafficked between continents intrinsically depends upon talented and persevering individuals to take drama, comedy, opera. circus, dance, and storytelling to metropoles as well as hinterlands. Emphasizing the travel vectors in British (and formerly British) settler-colonies for women (Indigenous, white, and Black diasporic), children, and the impresarios who promoted them, this collection brings the lived reality of travel and survival vividly to the fore.'' Tracy C. Davis, Professor of Theatre, English, and Performance Studies, Northwestern University

• List of IllustrationsContributors AcknowledgmentIntroduction: Kate Flaherty and Gilli Bush-BaileyVanishing cts and Making Tracks1: Diana James and Inawinytji Williamson Kungkarangkalpa: Travelling Women of the Seven Sisters Songline Part 1: Ephemerality and creative methodology2: Joanne Tompkins and Liyang XiaMid-Nineteenth-Century Cantonese Opera Performances in the Victorian Goldfields3: Jacky Bratton and Gilli Bush-Bailey Bodies of Evidence: The unremarkable history of Emma Stanley (1816-1881)4: Anna-Sophie Jürgens Lady Clowns: Clown-Ballerinas, Dancing "Clownesses" and Female Clowns on the Popular Stage around 19005: Jane Woollard (University of Tasmania)Tracks, Knots, Stage Tact and Boots: A ReflectionPart II: Peril, illness and ageing6: Marlis Schweitzer "It Was a Most Beautiful Moonlit Night...": Mrs. John Drew’s Shipwreck Narratives7: Peta Tait Risk and Colonial Touring: Female Circus Performers in Aerial and Lion Acts8: Janice Norwood Reading Race, Repertoire and Transcontinental Reception through Madame Celeste’s Colonial Encounter9: Kerry Murphy "Covent Garden on Wheels" Thomas Quinlan’s Operatic tours of 1912–1914 and beyond10: Laura Ginters "Let me come to Athens [/Lamplough], shelter me, accept me in your home": Medea Transported to the Goldfields and Beyond in Nineteenth-Century Australia.Part III: Reversing flows and Cross currents11: Kate Flaherty Fanny Kemble, Slavery, and Transatlantic Commodity Trade12: Katherine K. PrestonWomen Take Control: Managers of English-Language Opera Companies in Late 19th-Century America13: Sarah Balkin Transporting Humour: Artemus Ward and American Comedy in Britain14: Gillian ArrighiAustralian Child Actors on Early Twentieth-century Touring Circuits15: Mark Houlahan Crossing the Ditch: Trans-Tasman Stages 1841-189616: Veronica Kelly (University of Queensland) Between the "Theatre Game" and Anthropology: International and Indigenous Black Women Entertainers Perform Modernity in Australia 1950s-1960s